|
||
| One might describe the "pin-up" image as safe,
virtuous, sexy and unabashedly American. These images are part of a type of illustration art that first appeared toward the end of the nineteenth century and the beginning of the twentieth century. The "pin-up" image was defined in, The Great American Pin-up, as:
During the late nineteenth century, magazine and periodical publishers discovered that people were more likely to read what they offered if they were accompanied by an illustration. The publishers also discovered that the cover art was important in capturing the customers attention and their money (many publishers still recognize this today). Publishers recognized that they had to have "captivating" subjects on their covers to compete. They hired artists to paint these pictures. In order to secure a loyal following and secure new subscribers, the publisher had the artists prepare illustrations of the beautiful, sexy woman pin-up. It served both male and female consumers. The men could fantasize being with the sexy pin-up and the women could fantasize being a sexy pin-up.
When the major mainstream magazines supported pin-up art for front-page publication their popularity grew. As a consequence the images began to appear on art cards, calendars, advertising, pulp magazines and even military aircraft. By the mid-seventies publishers were turning to fashion and commercial photographers to fulfill their requirements. This was especially true with the calendar publishers. The calendars featured "super models" and fascinating locations and are considered to be a primary example of the current trend in the arts evolution. |
||
 |
||
| The Gibson Girl
|
The Gibson Girl was first published in 1887. It is considered the first American Pin-up and was created by Charles Dana Gibson.
|
|
| The Petty Girl
|
George Petty created the "Petty Girl." This American Icon was
seen on calendars, magazine centerfolds advertising, etc. for more than twenty-five years (1933- 1956). The Petty Girl also played an important part in boosting the moral for those serving during WWII.
|
|
| The Varga Girl
|
Alberto Vargas created the "Varga Girl. It was introduced to
the public October 15, 1940, by Esquire magazine. The sexy, wholesome Varga Girl was
a very important "subject" for nose art during WWII. The name
"Vargas" is synonymous with pin-up art. His art is usually used to define
and illustrate the pin-up genre. He is often considered a King among Kings in the world of pin-up art. |
|
 |
||
| Olivia De Berardinis
|
Olivia is to the 1980s and 1990s what Alberto Vargas was to the 1940s
and
1960s. Olivia began by providing illustrations for a number of erotic publications (most
notably Playboy). Olivia has created a bridge from the virtuous pin-ups of World War
II to the more highly erotic image that symbolizes the sexual confidence of today's woman. |
|
| Hajime Sorayama
|
Sorayama is considered the number one artist of super realism in the world
of illustration. He is renowned for his "hyper illustrated" style of pin-up art.
Some of his work reflects a masochistic style of pin-up art; bondage and body piercing
characterize it. It is an unusual marriage of beauty, pain, pleasure and the perverse.
Although, the subject matter may be considered offensive to some, one cannot ignore
the importance of his technique and style to this genre of art. |
|
"…one
that shows a full length view of it's subject and characteristically has an element of a
theme or some kind of story. The woman in the pin-up is usually dressed in a
form-revealing outfit…Sometimes, a pin-up may be shown as a nude…" 1
1 Charles G
Martignette, Louis K. Meisel, The Great American Pin-Up, (German: Taschen, 1996), p.22 |